olutely identical, deconstruction reveals guilt, duty, and unrequited love as essential components to the construction of both.
             Besides the most obvious similarity that both triangles are composed of one woman and two men, guilt also figures prominently. Although the men of the triangles may have their own guilt-related issues, it seems as though it is the guilt felt by the women that presents the most conflict. In The Dead, Greta has to live with the knowledge that it is because of her, although indirectly, that Michael died. It is likely that because of this guilt that she pauses on the staircase to listen to The Lass of Aughrim, a song that, as she tells Gabriel later, reminds her of Michael. At the time, her husband interprets her expression on the staircase as one of "grace and mystery...as if she were a symbol of something."(Joyce 2028). He was correct, except not in the way that he thought. All the way to the hotel, the lingering memory of that sight of her incites his passion. However, he experiences a terrible upset as Greta tells him about the song and what it means to her. This is the critical moment where Michael, or rather his memory, enters and completes the triangle, although he may have been there all along without Gabriel's knowledge. To Gabriel, this turn of events casts a different light on his entire marriage to Greta as he "thought of how she who lay beside him had locked in her heart for so many years that image of her lover's eyes when he told her that he did not wish to live"(Joyce 2035). He wonders "how poor a part he, her husband, had played in her life"(Joyce 2035). Although it is a bit peculiar for one of the members of this bizarre love triangle to reside beyond the grave, we see here that Michael plays a significant role, perhaps altering Gabriel and Greta's relationship forever, with Greta's guilt as the instigating factor.
             As for Sue...